Southern Methodist University SMU Scholar The Larrie and Bobbi Weil Undergraduate Research Central University Libraries Award Documents 2009 Flânerie and the Lesbian Gaze: Female Spectatorship in the Work of Toulouse-Lautrec Ashley Bruckbauer [email protected] Follow this and additional works at: https://scholar.smu.edu/weil_ura Recommended Citation Bruckbauer, Ashley, "Flânerie and the Lesbian Gaze: Female Spectatorship in the Work of Toulouse-Lautrec" (2009). The Larrie and Bobbi Weil Undergraduate Research Award Documents. 3. https://scholar.smu.edu/weil_ura/3 This document is brought to you for free and open access by the Central University Libraries at SMU Scholar. It has been accepted for inclusion in The Larrie and Bobbi Weil Undergraduate Research Award Documents by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. Flânerie and the Lesbian Gaze Female Spectatorship in the Work of Toulouse-Lautrec Ashley Bruckbauer ARHS 4351: Modern Art and Media Culture Fall 2008 Dr. Janis Bergman-Carton Bruckbauer 2 Introduction Henri de Toulouse-Lautrec (1864-1901) has puzzled scholars for over a century, just as he puzzled his contemporaries during his short life. In an attempt to understand this complex artist, historians have gathered a massive body of biographical information focused primarily on his bohemian lifestyle, which has become synonymous with fin-de-siècle life in Montmartre. The focus on biography has tended to overshadow the potential for studies of the art itself. This paper considers Toulouse-Lautrec‟s representations of lesbians and lesbianism in Montmartre‟s late-nineteenth-century counter-culture. Though Toulouse-Lautrec‟s work derived from a longstanding fascination with the topic in nineteenth-century novels and medical literature, it marks a departure from conventional representations that denigrated these women. The few studies of Toulouse-Lautrec‟s depictions of lesbianism that exist focus on the context of prostitution.1 Less examined are Toulouse-Lautrec‟s images of celebrities, like Jane Avril, who happened to be lesbians in portraits that downplay or ignore that dimension of their identity. My paper studies Toulouse-Lautrec‟s representations of Avril and the way they reorient traditional voyeuristic treatments of lesbian subjects. I argue that the lesbian figure of Avril provides 1 Lesbianism in the work of Toulouse-Lautrec, particularly his representations of Montmartre’s lesbian celebrities, does not seem to be a popular focus. Most studies that examine his works containing lesbians, including Hollis Clayson’s Painted Love: Prostitution in French Art of the Impressionist Era and the exhibition catalogue for the 2005 exhibition Toulouse-Lautrec and Montmartre, are focused on the seemingly broader topic of his representations of prostitutes. Likewise, studies of representations of lesbianism in the late-nineteenth-century, such as Leslie Choquette’s Homosexuals in the City: Representations of Lesbian and Gay Space in Nineteenth- Century Paris and Dorothy Kosinski’s ‘The Sleepers’: The Lesbian Image in Nineteenth-Century French Art and Literature, mention Toulouse-Lautrec only in the context of his brothel scenes. I must exempt, however, David Sweetman’s enlightening chapter Sapphic Nights from Explosive Acts: Toulouse-Lautrec, Oscar Wilde, Felix Feneon and the art and anarchy of the fin-de-siècle. Bruckbauer 3 Toulouse-Lautrec with a new model of spectatorship in the French fin-de-siècle, a model of female absorbed looking that displaces the primacy of male flânerie.2 Toulouse-Lautrec Toulouse-Lautrec was born in 1865 during France‟s Second Empire, five years before the establishment of the Third Republic in 1870, and nine years before the first Impressionist exhibition in Paris. In 1881, Toulouse-Lautrec moved with his mother from his birthplace in the South of France to Paris, where he attended school and worked in the ateliers of several prominent artists: René Princeteau (1843-1920), Léon Bonnat (1833-1923), and Fernand Piestre Cormon (1854-1924). By 1884, Toulouse-Lautrec was living on his own in Paris as a full-time artist. Although he began his study in the academic tradition under Bonnat and Cormon, his work soon began to reflect an interest in Impressionist techniques and subject matter. 3 The majority of his oeuvre is comprised of an almost obsessive ethnographic recording of the Montmartre night life with which he became intimately familiar. His paintings and lithographs mostly document the revelry of Montmartre‟s dancehalls, cafés, and brothels. They invite the viewer into this world, providing an intimate view of a Parisian playground associated with deviance and debauchery. The theme of lesbianism registers consistently in his representations of this world. Evolving Perceptions of Lesbianism 2 Flânerie is the act of detached “looking”, an exclusively male pastime, executed by a person commonly referred to as a flâneur. Flâneurs were a constant presence in popular public spaces after the Hausmannization of Paris and are commonly depicted in the work of Degas, Caillebotte, and Renoir. The figure of the flâneur is primary in the study of nineteenth-century art due to the fact that he became a symbol of modernity invariably tied to the rise of a shared popular culture in fin-de-siècle Paris. For more information on flânerie or the rise of mass culture in late- nineteenth-century France see Vanessa Schwartz’s Spectacular Realities: Early Mass Culture in Fin-de-Siècle Paris or John House’s chapter The Viewer of Modern Life in Impressionism: Paint and Politics. 3 Frey, Julia. Toulouse Lautrec: A Life. London: Pheonix Publishers, 1994. P.172. Bruckbauer 4 Fin-de-siècle French culture had an obsessive preoccupation with lesbianism: its origins, causes, and practices.4 Nowhere was this more evident than in Montmartre or more regularly visualized than in the work of Toulouse-Lautrec. Though the obsessive scrutiny of lesbianism in France evolved during the last two decades of the nineteenth-century, it was first studied in- depth in Alexandre Parent-Duchâtelet‟s 1836 work La Prostitution dans la ville de Paris. Before the publication of this work, the idea of lesbianism as a real phenomenon was considered ridiculous by many. As late as 1885, for example, Queen Victoria of England refused to legally condemn female homosexual practices on the grounds she did not believe such a thing existed.5 Many Frenchmen were of the same mind in the early nineteenth-century. While male homosexual acts were accepted as common practice, a female homosexual act apparently seemed unimaginable. Moreover, it was considered unseemly in the early-nineteenth-century to think of women with sexual impulses of their own.6 If someone was attracted to a member of the same sex, they were deemed a “sexual invert” by the contemporary medical community. The 1836 publication of Parent-Duchâtelet‟s work first contextualized lesbianism as a phenomenon that existed solely in the realm of the prostitute.7 Contemporary sources described lesbianism in Paris‟s brothels as the result of two situations: either brothel-keepers forced 4 Contemporary studies on lesbianism included Ali Coffignon’s 1889 Paris vivant. La corruption a Paris. And Julien Chevalier’s 1893 Inversion Sexuelle. Additionally, a great deal of literaries took interest in the subject including Zola, Maupassant, and Flaubert. 5 Van Casselaer, Catherine. Lot’s Wife: Lesbian Paris 1890-1914. Liverpool: The Janus Press, 1986. P. 8. 6 During this time, sexual orientation was believed to be predetermined by gender. One’s male or femaleness came with distinct, fixed characteristics, and sexual behavior was considered a part of these prescribed roles. Berlanstein, Lenard R. Daughters of Eve: A Cultural History of French Theatre Women from the Old Regime to the Fin-de-Siècle. Cambridge: Harvard University Press, 2001. P. 115. 7 For an excellent article on the links between prostitution and lesbianism in the mind of the late 19th century public, consult Leslie Choquette’s article “Degenerate or Degendered? Images of Prostitution and Homosexuality in the French Third Republic” in Historical Reflections, Vol. 23 (1997), p. 205-23. Bruckbauer 5 prostitutes to perform lesbian acts within tableaux vivants8 for the viewing pleasure of male clients, or brothel inmates9 formed lesbian relationships for emotional comfort and stability in a profession that offered none.10 Any questionable contact between brothel inmates was strictly forbidden by law. In fact, prostitutes were prohibited from sharing a bed, and police raids took place periodically to ensure these standards were being upheld. During the Second Empire, lesbianism began to be recognized outside of the realm of the prostitute. In fact, by the 1870s and 1880s, the general public accepted lesbianism as a phenomenon possible among women of all social classes.11 Ali Coffignon‟s Paris vivant: La corruption à Paris (1889) was the first published work to mention lesbianism outside the context of prostitution.12 Julien Chevalier‟s Inversion sexuelle, published four years later in 1893, describes lesbianism as a class issue, “flourish[ing] among the rich and aristocratic, rare among the middle classes and abhorred by the proletariat; he add[s] that it was unknown in the country, being a chic urban vice.”13 Male homosexuality, in contrast to lesbianism, was fervently condemned due to France‟s contemporary obsessions with male virility and national military 8 See Alain Corbin’s Women for Hire: Prostitution and Sexuality in France after 1850. Cambridge: Harvard University Press, 1990: “The first class tolerances thus increased the number of spectacles and tableaux vivants, in which the inmates, entirely naked, abandoned themselves to homosexual practices on a large black velvet carpet or in rooms hung with black satin to bring out the whiteness of their bodies. In other establishments the inmates were content to assume plastic poses on turntables operated by an electrical mechanism. Sometimes sexual monstrosities such as hermaphrodites or scenes of bestiality were displayed.” (p. 124) 9 Registered prostitutes were commonly referred to as brothel inmates.